Interiors: Recent Paintings by Duane Keiser

Interiors: Recent Paintings by Duane Keiser February 26 to April 04, 1998 Marsh Art Gallery Introduction Duane Keiser\u27s exhibition features his recent oil paintings dealing with interiors. Evoking the psychological intensity we often feel when we find ourselves alone inside silent architectural spaces, whether domestic or public, his paintings investigate this intimacy of the room. Although devoid of people, his interiors are very much about the people who inhabit these seemingly ordinary spaces, about the haunting presence of humanity that remains, even as we catch tantalizing glimpses of the world outside. His paintings elicit our own experiences of such spaces, and we sense, much as the poet Tristan Tzara wrote, A slow humility penetrates the room / That dwells in me in the palm of repose. Our thanks go first of all to the artist, Duane Keiser, who is an adjunct assistant professor of art at the University of Richmond. His enthusiasm and unstinting involvement throughout the entire project are deeply appreciated. At the University of Richmond, our special acknowledgment goes to Dr. Richard L. Morrill, President; Dr. Zeddie P. Bowen, Vice President and Provost; and Dr. David E. Leary, Dean of the School of Arts and Sciences; for their continuing support and encouragement oi lhe visual arts through the Marsh Art Gallery\u27s exhibitions and programs. Special thanks go to the staff of the Gallery: Douglas Satteson, Exhibitions Coordinator; Lynda Brown; and our student workers. Appreciation also goes to our colleagues in the Department of Art and Art History. We are extremely indebted to all the lenders, who were so graciously willing to part with works from their collections for this exhibition. The exhibition is made possible with the generous support of the University of Richmond Cultural Affairs Committee and an anonymous donor. Richard WallerDirector, Marsh Art GalleryUniversity of Richmondhttps://scholarship.richmond.edu/exhibition-brochures/1017/thumbnail.jp

Janet Fish: Paintings and Drawings Since 1975

Janet Fish: Paintings and Drawings Since 1975 September 10 to October 3, 1987 Marsh Art Gallery, University of Richmond Museums Introduction The Marsh Gallery takes pride in opening its 1987-88 season with the first Virginia exhibition of paintings and drawings by Janet Fish, acknowledged master of the contemporary still life according to art critic Gerrit Henry. While this exhibition is intended to emphasize her current work it is also slightly retrospective, including work dating from 1975 to 1987, so that the viewer will understand the progression as well as the increasing depth of the artist\u27s oeuvre. In the midst of a postmodern era, hype and novelty sell art. Even so, Janet Fish\u27s work stands apart from these sensibilities by its quiet integrity and technical brilliance. Undaunted by the dogma of pure abstraction which reigned in her formative years, Janet Fish connected with images in the real world. Rooted in the Modernist formal tradition and the Dutch still life genre tradition, her work adheres to the world of concrete contemporary experience. Fish\u27s simple, familiar subjects are rendered with formal complexity, richness of detail and the vibrant, tropical palette of her childhood. Her paintings of the early \u2770s, in which she combined realistic subjects with an abstract handling of paint, established her career. Yet, as this exhibition reveals, over the last twelve years she has taken progressively more risks with color and composition as well as with the integration of the figure. For example, Fourth of July (1985), unleashes all the possibilities of color and intricacy that are restrained and unexplored in her studies of glasses in the \u2770s. Additionally, the deep illusionistic space and narrative allusion in Waiting for Will (1986) severs Fish\u27s tie with Modernism. Although Fish\u27s paintings may be loosely placed within the category of Realism--the cool, objective representation of the material world-they resist such tidy indexing. The tour de force of Fish\u27s work is her personal response to her subjects. Her sensory perceptions thus yield a beauty and joie de vivre that ultimately dominate the paintings. Susan ArnoldDirectorMarsh Galleryhttps://scholarship.richmond.edu/exhibition-brochures/1007/thumbnail.jp

The Harnett Collection of American Painting

The Harnett Collection of American Painting January 10 to January 26, 1989 Marsh Art Gallery Introduction Joel Harnett, a 1945 graduate of the University of Richmond. discovered his interest in art when he met his wife, Lila. She had studied painting at the Art Students League in New York City. As a young couple they shared a love of art and of the collecting of art. Today with great generosity they share their collection, the fruit of some thirty years of intelligent and loving discrimination, with Joel\u27s alma mater. Both diversity and coherence, in addition to a striking level of quality, characterize the Harnett collection. Having to limit themselves in some fashion, they decided early on to collect only American artists. Their preference has been for art with a referential content and what Lila Harnett describes as a nourishing substance. More specifically, they have sought out artists with an individual, even singular vision, prominent among whom are Charles Burchfield, Reginald Marsh, Edward Hopper and George Tooker. This criterion makes for diversity: the imaginative Gothic landscapes of Burchfield. the acutely observed urban bustle of Marsh, the lonely light-filled spaces of Hopper, the quiet intense psychological dramas of Tooker. The depth in which they collect the work of these men lends their collection a satisfying coherence, even as they continue their fascination with singular vision in individual works by artists of a younger generation, such as Pearlstein, Beal and Birmelin.https://scholarship.richmond.edu/exhibition-brochures/1030/thumbnail.jp

Reconstructions: The Video Image Outside of Time

Reconstructions: The Video Image Outside of Time November 08 to December 17, 1995 Marsh Art Gallery Introduction Co-organized by the Marsh Art Gallery, University of Richmond, and the Virginia Museum of Fine Arts, Richmond, the exhibition is traveling throughout the Commonwealth through the Virginia Museum\u27s Department of Traveling Exhibitions and Media Services (Eileen Mott. Statewide Exhibition Coordinator) following its venue at the Marsh Art Gallery (November 8 to December 17, 1995). The exhibition, Reconstructions, The Video Image Outside of Time (1994), comprises a continuously-running single-channel videotape and twenty-seven photographs. All the photographs are Cibachrome prints, 8 x 10 inches, printed from slides generated from computer-manipulated digital files that were created on the computer directly from the videotape. All the works are from the collection of the artist. Accompanying the exhibition is a compilation tape of seven single-channel videotapes by the artist: Fragments of India, 1993 (8 minutes); Folded Follies, 1993 (8.5 minutes); Space Splice, 1994 (12 minutes); Inside, 1986 (4.5 minutes); Space-Time Loops: Cityscape, 1988 (8 minutes); Reconstruction, 1992 (6.5 minutes); and Bindu, 1993 (6.5 minutes). The videotapes are courtesy of and distributed by The Kitchen, New York.https://scholarship.richmond.edu/exhibition-brochures/1036/thumbnail.jp

Ruth Weisberg

Ruth Weisberg February 20 to March 17, 1985 Marsh Art Gallery Introduction Over the post century, the formal issues in art have been re-examined and exalted. The next question is meaning. As critic and artist, Ruth Weisberg is uncompromising in her belief that the value of art is in its meaning. Through her images, a humanitarian speaks. In her strong compassionate voice, one hears the echos of Goya, Watteau, Velazquez and Munch- those who painted and drew to expose injustice and to understand the pathos of human existence. Ruth Weisberg is a Professor of Fine Arts at the University of Southern California. She is a contributing editor to Artweek, Vice President of the Women\u27s Caucus for the Arts, and a past President of the Los Angeles Printmaking Society. Ms. Weisberg has been active nationally and regionally for artists\u27 rights. She is on Advisory Board Member of L.A. Artist\u27s Equity, Art Bank Jury, Santa Monica Arts Commission, and is a member of the College Art Association Board. Weisberg\u27s work has been collected by over two dozen museum and University collections including: Biblioteque Nationale, Paris; Art Institute of Chicago; Fine Arts Museum, San Francisco; Norwegian Notional Museum; Los Angeles County Museum of Art; and Harvard University. Her work has been shown in over 35 solo exhibitions, and more than 150 group exhibitions in North America and Europe.https://scholarship.richmond.edu/exhibition-brochures/1019/thumbnail.jp

Pierre Daura, Catalan-American Modernist: People, Places, and Things

Pierre Daura, Catalan-American Modernist: People, Places, and Things September 28 to December 11, 2005 Joel and Lila Harnett Museum of Art and Print Study Center Introduction Pierre Daura (American, born Spain, 1896 - 1976) was a member of a radical generation of artists who shaped the development of European modernism from the 1910s to the 1930s. The richness of his art reflects the diverse experiences of his life - growing up in Catalonia, Spain, maturing as an artist in Paris, moving to the small French village of Saint Cirq-Lapopie, participating in the Spanish Civil War, and finally relocating to Rockbridge Baths, Virginia. After settling in America during World War II, Daura focused his art on the landscape, still life, and the figure. Selected from a major gift to the Joel and Lila Harnett Print Study Center from the artist\u27s daughter, Martha Randolph Daura, the exhibition of drawings, watercolors, prints, and oil paintings highlights the major themes of Daura\u27s long career as an artist. Organized by the University of Richmond Museums, the exhibition is presented concurrently in the Joel and Lila Harnett Museum of Art and the Print Study Center. Co-curators are Richard Waller, Executive Director, University Museums, and Bradley Jane Wright, \u2706, marketing major, University of Richmond, and 2005 Harnett Summer Research Fellow. As part of her fellowship and continuing research this semester, she has written the exhibition\u27s extended labels and the essay in this brochure. We thank Martha Randolph Daura for her generosity to the University Museums, and we are deeply grateful to her for this gift to our collection. Thomas Mapp has been truly helpful with this project, and we thank him. With this generous donation, the Harnett Print Study Center is now a prominent repository of works by Pierre Daura, and we look forward to sharing his art with our students, scholars, and visitors. The exhibition is made possible in part with funds from the Louis S. Booth Arts Fund and the support of the Daura Foundation. Richard Waller Executive Director University of Richmond Museumshttps://scholarship.richmond.edu/exhibition-brochures/1010/thumbnail.jp

Robert Motherwell on Paper: Gesture, Variation, and Continuity

Robert Motherwell on Paper: Gesture, Variation, and Continuity October 17 to December 13, 1997 Marsh Art Gallery Introduction Abstract art is stripped bare of other things in order to intensify its rhythms, spatial intervals, and color structure, a process of emphasis. - Robert Motherwell The renowned Abstract Expressionist artist Robert Motherwell (1915-1991), best known as a painter, produced a remarkable body of works on paper. His drawings, prints, and collages show an intimate side of his visual sensibility and reveal the very personal handwriting of the artist as he responded to the subtleties of paper, both as a medium and a material. The exhibition is divided into eleven themes or sections, and organized around serial creation, such as his Lyric Suite series, and thematic continuities, as seen in his well-known elegies motif. Motherwell\u27s works on paper demonstrate the complex relationship between abstraction and figuration. The works present the artist\u27s creative gesture in its various manifestations, as immediate impulse, as dialectic response, and as deliberate variation. This exhibition guide and extended copy on the wall labels were developed as part of an art history course, The Modern in America, taught during the 1997 Fall Semester at the University of Richmond by Stephen Addiss, Tucker-Boatwright Professor in the Humanities and Professor of Art History. Dr. Addiss\u27 students researched and worked on this brochure and selected the quotes used in the brochure and on the exhibition labels. The students were: Scott S. Allen, Mott Avitable, Maggie Brining, Henry Chong, Fiona Howl, Mark Karau, Annie Lipscomb, Karen Morgan, Johnny Nixon, Diana Thompson Vincelli, Joseph L. Winland, Jr., and Christy Yarnell. The exhibition is organized and circulated by the Miriam and Ira D. Wallach Art Gallery, Columbia University, and curated by David Rosand. At the Marsh Art Gallery, the exhibition is made possible with the generous support of the University of Richmond Cultural Affairs Committee. Richard Waller Director, Marsh Art Gallery, University of Richmondhttps://scholarship.richmond.edu/exhibition-brochures/1026/thumbnail.jp

Erling Sjovold: Recent Paintings

Erling Sjovold: Recent Paintings October 16 to December 11, 1999 Marsh Art Gallery Introduction Erling Sjovold\u27s exhibition features his recent watercolors and oil paintings, works where the artist\u27s desire to slow down time for reflection is the basis for images that even include the element of time as subject matter, both literally and figuratively. Like many artists that are described as second sight artists, he creates images that require careful looking beyond the surface realism, works that do not reveal their full statements at first sight. His paintings are rich with layers of meaning that lead the viewer to deeper contemplation of the natural world and its phenomena, including light, a sense of place, and the passage of time. While his watercolors of the landscape appear more straightforward in the plein-air method of painting, the images in his oil paintings of the still life and landscape are a complex mixture of observation and fabrication. The artist explains that he chooses his subjects for both their formal characteristics and their symbolic content. Blending, or bending, perceived reality with the impact of abstract form and structure to achieve a heightened reality, he imbues ordinary, commonplace objects with metaphysical overtones by placing them in extra-ordinary situations. In these recent paintings, the artist investigates the psychologically-laden terrain of nature and natural objects combined with the objects and settings of humanity; often he brings the two genres of painting, still life and landscape, together in his simultaneously real and surreal images. His highly-charged compositions are about an environment that is both representational and metaphorical, a place where the artist juxtaposes intriguing objects and invites us to explore the possible meanings we might find there. This fall semester, we welcome Erling Sjovold to the faculty of the University of Richmond as assistant professor of art, and this exhibition of his paintings introduces his creativity as an artist to our university and the Richmond community. Richard WallerExecutive Director, University Museums, and Director, Marsh Art Gallery, University of Richmondhttps://scholarship.richmond.edu/exhibition-brochures/1012/thumbnail.jp